Medea Forgives Jason
"Medea forgives Jason" is a cycle of improvisations, first inspired by Euripides and his tragedy called "Medea". This canvas captures not only numerous musical paths leading to the image of the great queen of Colchis but also a research path where anthropology, literature, dreams, and deconstructive bodily practices are combined together in order to destroy the dying myth and thereby return it to the "beginning ". The anthropological philosopher René Girard, being one of the most fundamental theorists in relationships between ritual and violence, speaking about bloody, cruel myths often urged readers to remember about twin brothers represented by sacred violence and primitive violence, whose relationships symbolize the world balance, where a violent ritual pacifies its criminal brother. In addition, as soon as we allow an equal sign between these twins, chaos enters the ancient world. This statement also applies to the myth of Medea. Today, burdened with modern moral and ethical attitudes, a human looks at Medea as a hysterical, vindictive woman and a murderous mother. The body of this myth is so unified, simplified that is more akin to a biographical action drama than an archaic symbolic, allegorical construction appealing to the world order. And the essence of the problem here lies precisely in the coveted equalization of Medea (ritual violence) and Jason (simple violence), inspired by the naive modern attraction towards a “happy end”. Therefore, the actions of Medea and her patron deities, who with a series of bloody ritual reprisals punish Jason for deviating from sacred oaths and crimes committed, turned into simplified sentimental connotation that makes this mythological plot meaningless. In turn, the musical act "Medea forgives Jason" realizes the massive desire to transform Medea into a positive scenario and clearly demonstrates not only the senselessness of this intention but also its destructive nature from the point of view of the ancient world, where the equilibrium of the archaic universe turns into an escalation of primitive violence - in it is no the place for sacred and only destruction, madness and an ominous hypostasis of chaos remain, reign and rule.
The postulate of the idea of physical destruction
The technical concept of this musical cycle was based on the act of constant destruction of the auditory picture, inspired directly by the complication after a respiratory illness suffered by the musician, which became a great obstacle to any vocal manipulation, regularly accompanied by pain and weakness of the vocal apparatus. The deliberate complexity and length of the vocal parts in this cycle implied a constant path to the loss of voice, as a kind of annihilation, a steady risk of irreversible injury by losing one of their main instruments.
In order to aggravate the situation, the musician made a lot of homemade instruments, with an unstable timbre and a design that prevents effective articulation. It is thanks to this approach that "Medea Forgives Jason" managed to capture the real state of struggle, loss of control and self-destructive act, which is echoed by the chorus of external destruction.
The film "Medea Forgives Jason"
Dreams about Medea
Motif about black cocks:
I'm Medea. In the village, people beheaded all the black cocks in order to stop the one who is engaged in magic. A council of elders gathers in the village, they all strain into my house. They take me outside, strip me naked and put me in a dug hole. They turn out to be blind. They beat the ground with their staffs and shout "Bury yourself, Ground. Bury yourself in the ground"
Motif about children and women's "illness"
I'm Medea. I forgave Jason a long time ago. We have a lot of kids and I hate them all. In this fit of rage and bitterness, I cut off the hand of one of my sons and run around the house with it, knowing that if Jason comes and sees it, he will definitely leave me. I have to hide my son's limb. One day I try to find that severed hand again, but it is no longer in the house.
In the village where I live, an epidemic begins among women. Leper colonies are being built for them. They're rotting alive. People are calling me for help to find and eliminate the disease. So begins my long journey through it. In one of the houses, I enter into a dialogue with one of the infected, she is holding her daughter in arms...suddenly, the child pulls out my son's severed hand from under her dress and it causes all women to have an ecstatic fit, they all kiss this rotting limb and all get infected through this kiss. I snatch this cursed limb from the hands of the female crowd and again take out an axe in order to cut it into thousands of pieces, destroy it.
Motif about dancing with daggers:
I'm Medea. The crowd of women is knocking on my door to tell me that Creusa, Jason's second wife, has become pregnant. I begin to scream like an beast and jump, convulsively making movements with my body, as if breaking it. A crowd of women are infected with my state. We all have ritual daggers that feed on blood, and they have been starving for a very long time. Creusa is in one of the rooms of the house. A crowd of women with daggers starts circling around her. Daggers demand to feed them with my children flesh. The women begin to plunge their daggers into the stomach and groin of Creusa in a frenzied dance. She starts spinning too. Her dress is covered in blood. From now on, Creusa is barren. I burn her spirit wrapped in a bloody sheet in my fireplace.